Camp Flog Gnaw Carnival: Surprise N*E*R*D reunion, Action Bronson’s mischievous multitasking and Tyler, the Creator’s gold medal
Andrew Veeder on
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The third annual Camp Flog Gnaw Carnival went down Saturday at The Park at the L.A. Coliseum, covering about a third of the real estate that August’s FYF Fest did and featuring two stages of music, a large skate park, a dozen rides, games, food trucks and raffle for a customized 1990 BMW 325is.
The seemingly all-ages rap show was largely comprised of attendees born in the 1990s, with multiple also born in the Aughts or being pushed in strollers, and at least a third of the crowd was wearing some sort of Odd Future fashion, be it hats, socks or tees. The majority of the Odd Future collective (less Frank Ocean) was in attendance and performed, including Domo Genesis, Hodgy Beats and Left Brain (as MellowHigh) and Mike G. The day also featured performances from Cherry Glazerr, Dem Atlas, Mac Miller, Murs with The Grouch and Eligh, Rick Ross and Step Brothers.
You want highlights? We have highlights:
‣Â Pharrell Williams reunited N*E*R*D with Chad Hugo and Shae for multiple songs, including “Everyone Noze,” “Rock Star” and “Spaz,” which had carnival and Odd Future mastermind Tyler, the Creator dancing like crazy around the stage. Pharrell’s headlining, career-spanning set also featured covers of Busta Rhymes and Nelly tracks he’s produced, older favorites “Frontin'” and Snoop Dogg’s “Beautiful,” and standout tracks from his album “Girl,” including “Come Get It Bae” and “Marilyn Monroe.” He also compared his rise to that of Odd Future, how he was considered outside of the box at first and too different before working really hard, continuing to put music out, and over time making a name for himself.
‣ Action Bronson rapped “The Don’s Cheek” with a blunt and microphone in the same hand, before launching a large weed-filled bag off the stage, exclaiming, “I just threw half a pound into the crowd.” He then rapped his ’80s pop-sampled “Contemporary Man” and “Strictly 4 My Jeeps,” before climbing down off stage and proceeding to rap his way through the crowd and out of sight as a school of cell phones-in-hand followed his movement. There was also a food stand called Action Bronson’s F*ck That Deliciousville.
‣ Freddie Gibbs took the stage after some DJ technical difficulties to crush an abbreviated set heavy on tracks from his Madlib-produced album, “Piñata,” including “Thuggin’,” “Deeper,” and “Harold’s.” “Now you know some n*ggas tried to kill me this week,” he said between songs, referencing the shooting after his show at Williamsburg’s Rough Trade store on Monday night that wounded his tour DJ Izzo. He even rapped “Sh*tsville” entirely acapella, proving he doesn’t even need a beat.
‣ Earl Sweatshirt and Vince Staples tag-teamed an hour-long set of respective and joint tracks, including Staples’ recent “Blue Suede,” Earl’s “Pre,” “Hive,” “Molasses,” and “Whoa” with Tyler, the Creator, and a few brand new songs.
‣ The Internet, led by Syd the Kyd and Matt Martians, played a groovy 40-minute set of jazzy neo-soul tunes from their two albums just after the sun went down, a nice break of R&B vocals between having rap songs shouted at you.
‣Despite the zero-tolerance policy for drugs, the grounds often smelled like mom was out of town, with numerous adolescents in braces smoking spliffs throughout the day. Guess it didn’t help when in the late afternoon Action Bronson threw 8 ounces into the crowd.
‣ There seemed to be a running contest of who could get the crowd amped and turnt up the most during the day. It looked like Tyler, the Creator may have taken the gold. Periodic mosh pits would spring up throughout the event, like funnel clouds touching down, and it was cute to watch the youth work out their mosh pit etiquette of getting it out but keeping it safe and moving. The same could not be said for the one-man pit of a bigger 30-ish bro in a pink shirt during Earl’s set who started mowing down everyone in an 8-foot radius, knocking the same girl down hard twice. The barrage of punches and slaps from she and her two irate friends weren’t nearly enough.
[…] In the material, he grapples with his demons, his relationship with his mother and the uncomfortable fame thrust upon him after his return, some of which sounds like he’s rapping from the fetal position in a dark hole. In a live setting, however, the new material was invigorated and transformed by his energy, clutching the mic tight with his right hand, and pumping his left fist as he moved around the stage, spitting every line with confidence and poise that has grown by leaps and bounds since his loosey-goosey performance at November’s Camp Flog Gnaw Carnival. […]